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ART I'N DRESS 



WITH NOTES ON 



HOME DECORATION 



BY 
LYDIA BOLMAR and 
KATHLEEN McNUTT 




THE MANUAL ARTS PRESS 

PEORIA, ILLINOIS 

1916 



TT5"<3? 
-36 



Copyright 

by 

Lydia Bolmar 

Kathleen McNutt 

1916 



APR 17 1916 
©CI.A428556 



iH 



■ 



INTRODUCTION 

THE notes and illustrations brought together in this pamph- 
let are intended for the use of students in domestic art 
courses. They have been developed thru several years 
of teaching the subject to high school students, and to groups of 
teachers, and they are now presented to a larger number of stu- 
dents in the hope that they will prove as useful to the many as 
they have to the few. 

To secure the best results in the use of these notes a copy 
should be in the hands of each student. The pamphlet is, in fact, 
a textbook on art as applied to dress and home decoration. 

The fundamental purpose in the study of art principles in 
connection with dress and home decoration is to create a desire 
in the minds of the students for beauty in those things which 
surround them in every-day life. To obtain this harmony and 
beauty in the ordinary things of life, one must understand the 
basic principles of good color and line. Few realize that every 
time we combine two colors or two lines we create a design 
whether we desire to do so or not, and the result is good or bad 
according to the knowledge or instinct that is guiding the hand 
of the worker. A girl's selection of a hat or a gown evidences 
her feeling, or lack of feeling, in design. It is therefore greatly 
to be desired that she should have a guiding principle, rather than 
to follow in blind obedience the erratic fashions of the day. 

Comparatively few persons are endowed with an unerring 
instinct for harmony ; the rest must rely on prescribed rules and 
principles to attain it. In order that these principles may be of 
benefit, they must be applied to concrete problems, and so em- 
phasized that one without artistic instinct may develop a standard 
of good taste ; for beauty is the result of obedience to the laws 
of fitness and orderly arrangement, not the result of chance or 
accident. 

In order that each step, in the work, may be easily and 
quickly grasped by the beginner, it must be presented in a clear, 
simple, and direct manner, using illustrations of the most rudi- 
mentary character possible. When the fundamental princi- 
ples are thus established, the more elaborate problems may be 
readily built upon them, without fear of confusion to the worker. 



CHAPTER I 

DESIGN IS BASED ON SELECTION AND 
ARRANGEMENT 

THE foregoing principles may be understood, with less ef- 
fort, if we begin by reducing our illustrative material to 
the simplest of abstract areas, good in proportion and so 
divided that each resulting part is pleasing in itself and in good 
proportion to the whole. ^ 

Abstract Areas Wixl, Selected and Arranged 

Figs, i, 2, and 3 represent abstract surfaces with spacings 
arranged to illustrate proportions, good or bad, from the view- 
point of good form in design. 



' 




. _ 




' 




' 








J 


>- 





Fig. 1 

Equal areas are not pleasing, Fig. 1, a, because they are 
mechanical and monotonous. 

Too much difference in area is disagreeable, Fig. 1, b, be- 
cause there is no consistent relationship between the parts. 

Successive sizes are desirable only when you wish to lead 
the eye up to a point of interest, Fig. 1, c. 

When a small space is left on the outside it looks weak, 
Fig. 1, d. 

Greek rule of proportion. Spaces are well related and be- 
come a unit when there is an approximate, not a mathematical, 
relationship of size or when the spaces bear relationship similar 
to that of 7 to 11 or 5 to 7, Fig. 2, a. 

More than tzvo spaces zvell related. The first division should 
be made according to Fig. 2, a, either of the resulting divisions 
may then be subdivided according to the same rule, or, .as in 
Fig. 2, c, the smaller space may be equally divided and placed 
on either side of larger division. 



6 



ART IN DRESS 



When spaces of different widths are separated by back- 
ground areas, these areas should be of equal width; conversely, 
Fig. 2, d, if the spaces are of equal width, the background areas 
should be of unequal widths. 



1 i \ I 1 1 mmmi ^ — 



a. 



Fig. 2 



Fig. 3 demonstrates the rules of spacing applied to Roman- 
striped ribbon with a as the space unit. 

In spacing for decoration only that part of the article is 
considered which will be seen in connection with the decoration 




when the article is in use ; for example, Fig. 4, in the table run- 
ners, that portion which hangs over the edge of the table ; in the 
tie, the end after the knot is tied. 

After a satisfactory space arrangement has been decided 
upon, the central space may be broken into pleasing spots and 
spaces as, Fig. 4, b and c; or by spacing with tucks, singly and 
in groups, as in e, f, g; or by trimming a ruffle in accordance 
with the rules of spacing, as in h; or, where there are margins, 
as in i, they should be of such width as to make a good setting 
for the enclosed space. Side, top, and bottom margins should 
bear some such relation to one another as, sides 5, top 7, bottom 
11. 

Underlay Figures Used to Construct Dress Designs 

A simple block figure, as shown in Fig. 5, may be used on 
which to construct designs for clothing. This figure, although 
rather crude, will be found very satisfactory, especially for be- 



DESIGN BASED ON SELECTION AND ARRANGEMENT < 

ginners and younger pupils, as it is simple in construction and 
easily varied to suit different types, yet sufficiently accurate to 
keep the design in good proportion. The head, hands, and feet 
are omitted, as they are too difficult a problem for the beginner. 




MM 




ah c 6 

WELL SELECTED AND ARRANGED SPACES FOR BORDER DECORATION 



e-f-g 

SPACING 
FOR TUCKING 




K-GOOD SPACING FOR TRIMMING OF A RUFFLE 

Fig. 4 




l -SPACING OF MARGINS 



For advanced work, figures as shown in Plates I, II, III, 1 may 
be used on which to construct the designs. Place a sheet of 
transparent paper directly over the plate and, without tracing the 

Elates I, II, and III will be found in the back of the book. These 
sheets may be removed and used for underlay in constructing dress designs. 



ART IN DRESS 



figure, construct the design to conform to its lines. The feet, 
hands, and head may then be traced if desired. Anyone wishing 
to have a number of these plates can easily and quickly reproduce 
them with a hectograph. 






BLOCK FIGURE MODIFIED 
TO SUIT VERY TALL FIGURE 



STANDARD FIGUREABOUT 

7 heads high — head 

i measure, waist 2, skirt 4, 

shoulders l| to z, amd bottom. 

of sleeve to waist line i measure 

Fig. 5 



BLOCK FIGURE MODIFIED 
TO SUIT VERY STOUT FIGURE 



At this point a number of problems, such as designs for 
underskirts, nightgowns, etc., should be worked out, so that the 
pupils may become thoroly accustomed to the use of the con- 
structive figure, and to the proper division and harmonious ar- 
rangement of space divisions. 



DESIGN based on selection and arrangement 9 




SAMPLE OF 7MATERIAL 



M » ii I « m„ < I ■ < „ . ,. 



SAMPLES OF TRIMAMG 




UNDERSKIRT DESIGN CONSTRUCTED ON BLOCK FIGURE 



10 



ART IN DRESS 




)r<^»^> <4^4^3>i\r<- ( 



SAMPLE OF MATERIAL SAMPLES OF TRIMMINGS 

CORSET COVER DESIGN CONSTRUCTED ON BLOCK FIGURE 



DESIGN BASED ON SELECTION AND ARRANGEMENT 11 




SAMPLE OF .MATERIAL SAMPLES OF TRIMMINGS 

NIGHTGOWN DESIGN CONSTRUCTED ON BEOCK FIGURE 



CHAPTER II 

DRESS AND ITS RELATION TO THE WEARER 

DRESS should be decoration, never ornamentation. Orna- 
mentation is a gaudy show, attracting attention to itself 
without reference to the object to which it is applied. Dec- 
oration exists to add beauty to the object decorated, by harmoniz- 
ing with it in texture, line, and color. Therefore, dress, to be 



O^ 




a 





in good taste, should be decoration appropriate in texture, line, 
and color to the figure upon which it is to be worn. All of this 
will, however, lose its value if we fail to take into consideration 
the occasion for which the costume is intended. For instance, a 
figure perfectly gowned for an afternoon or evening reception 
woi Id be a gaudy show if seen on the street in the morning. 

If we were all built on perfect lines we could, without ex- 
cep ion, follow the rule that, in the main, decorative lines should 
fol.ow and strengthen structure; but, as few of us are so con- 
structed, and as similarity of line and shape intensifies bad as 
well as good characteristics, the best that we can do is to avoid 
or modify bad lines and repeat and strengthen good ones. A 
tall, angular figure in pronounced vertical stripes appears ema- 
ciated, whereas the use of a soft plain or figured material which 

12 



DRESS AND ITS RELATION 



13 



has nothing in its make-up to emphasize vertical structure will 
tend to bring out the cross-lines, a tendency which will be height- 
ened by the material being of a light, fluffy texture which seldom 
or never lies in straight, hard folds, but stands out from the body 
and adds to its breadth. Materials striped or figured with a 
vertical tendency will do much to lengthen a short or stout figure, 






<f>. 








Fig. 7 



provided the design be not too pronounced or the stripes too 
widely separated. The texture of the material should be such 
as to lie in straight, flat folds, thus emphasizing vertical structure. 



Dominant Lines oe the Costume Shoued be Adapted to 
Dominant Lines of the Figure 

A thin, angular face, Fig. 6, a, should avoid having its 
length accentuated by repetition in the neck and yoke lines. 

Contrasting lines, if not too violent, Fig. 6, b, will do much 
to correct this defect. 

If the lines of the face are repeated they should be modified 
by a second line, Fig. 6, c. The hair also may be arranged to 
offset the shape of the face. 

The broad, blunt face may be lengthened by the use of gradu- 
ally contrasting lines, Fig. 7, b and c. 



14 



ART IN DRF Y SS 



<?■% 




Fig. 8 



In Fig. 8, a, b, c, d, e, and / are shown examples of neck 
and yoke lines which may be used to modify the lines of the face ; 
g, h, i, and / are examples of line which intensify the already bad 
lines of the face. 



DRESS AND ITS RELATION 



15 



Lines Echoing Length Lines are Especiaeey Good for 
the Stout Figure 

Well related vertical divisions tend to lengthen the figure, 
Fig. 9, a and b. 

Avoid the use of cross-lines, fulness, trimming about the 
hips, Fig. 9, c, or very narrow panels on a stout figure, as they 
all apparently add width. 




_ b 






Fig. 9 



Vertical divisions on exact center line, Fig. 9, d, should be 
used only on slender figures. 

Long, continuous lines, Fig. 9, e, are especially good for 
stout figures, as they lay strong emphasis on vertical structure. 

A narrow belt should be used for a stout figure. 



16 



ART IN DRESS 



Horizontal Lines and Divisions Tend to Modify an 
Over SeEnder Figure 

There should be as little emphasis as possible on vertical 
structure, Fig. 10, a, when the figure is over slender. Well spaced 
horizontal divisions are especially good for the slender figure, 
Fig. 10, b, c, and d. 








A wide belt line may be used to shorten a very tall, long- 
waisted figure, Fig. 10, e. 



DRESS AND ITS RELATION 



17 



Since the length of the arm so much exceeds the width, many 
cross divisions, equally spaced, may be used, Fig. 10, /. 

Every Costume Shoued have Unity, Either oe Line or 

Coeor. 

Fig. ii, a, is violent in both line and color. It is violent in 
line, because the lines do not support the structure, a defect 






which is greatly magnified by violent contrast in color. Violence 
of line may be made less conspicuous by unity in color, Fig. 1 1, b. 
When lines are in harmony with the structural lines of the 
body, more violence in color may be allowed, Fig. n, c. 



18 



ART IN DRESS 



Beets and Tie Ends 

Structural lines in ties should echo the structural lines of the 
body, and the length of the tie should make good space divisions 
between the neck and belt line, Fig. 12, a, b, c, d, e, f, and g. 




Pig. 12 



Structural lines of belts and belt buckles should also be in 
accord with the lines of the figure, Fig. 12, h, i, and /. 

Violent opposition of line attracts too much attention and 
does not support structure, Fig. 12, k, I, m, n, 0, and p. 



CHAPTER III 

PRINCIPLES OF DESIGN APPLIED TO 
HAIR-DRESSING 

IF our faces were all built on the perfect lines of the features 
of a Greek goddess, we might follow the freaks and fancies 
of fashion with little or no fear ; but, unfortunately, we are 
not all so constructed. A face, already bad in line, often has its 
defects greatly magnified by a thoughtless repetition of these 
lines in the dressing of the hair. For we must remember that a 








Fig. 13 



bad line, let it be found where it may, is always made worse by 
being repeated ; whereas, by avoiding or neutralizing these lines 
and giving proper emphasis to the good ones, we may do much 
to remedy the defect. 

The head marked a, in Fig. 13, is already too long for its 
width. This defect is greatly exaggerated by dressing the hair 
on top of the head, thus supporting and strengthening the vertical 

19 



20 ART IN DRESS 

structure. The head marked b, in Fig. 13, is exactly the same 
head as in a, with the hair arranged to support horizontal struc- 
ture, thus giving width where it is most needed. 

The heads marked c and d, in Fig. 13, illustrate the same 
principles as a and b. The use of the ribbon, and the loose 
dressing of the hair, as shown in d, are effective in relieving the 
awkward appearance of the neck. 

Heads e and / show how the defect of an over-prominent 
and severe jaw line or tilted nose may be lessened by the proper 
arrangement of the hair. 

The hair over the forehead should be brought as far for- 
ward as the most prominent feature of the face, g and h, and the 
coil of the hair will give a more pleasing effect if placed at a 
point other than opposite the prominent feature. 



CHAPTER IV 

PRINCIPLES OF DESIGN APPLIED TO MILLINERY 

IN no department of dress are the rules and principles of good 
color and line so often violated as in millinery. We seem to 
forget that a hat, to be a hat, must, first of all, fulfil the 
very reason for its existence — that of being a covering and pro- 
tection for the head. When a hat has fulfilled this requirement 
of use it has also fulfilled one of the demands of decoration, for 
decoration which does not conform to use has retrograded into 






mere ornamentation. Now, when the requirement of use is ful- 
filled in a pleasing and artistic way, the lines of the hat must 
conform to the lines of the head and face, repeating and strength- 
ening good lines, avoiding or modifying bad ones. 

In constructing the hat crowns shown in Fig. 14, a and b, 
the shape and size of the head have been entirely disregarded. 
In c a true relationship has been established. 

A hat should not be hung on a corner of the head, Fig. 14, 

a and b, but it should be placed so as to become, apparently, a 

part of the head. 

21 



22 



ART IN DRESS 



Good space relation should exist between width of brim and 
height of crown, Fig. 15, a, b, and c. 

Two curves of equal length Fig. 15 d, are not as pleasing 
as one long and one short curve, Fig. 15, c, for equal curves, like 
equal areas, are monotonous. 

Two or, at most, three are as many dents or curves as may 
be used with good effect in the brim of a hat, Fig. 15, /. 

Equal divisions should be avoided, Fig. 15, g and h. 









Relation of Trimming to Structure of Hat 

The portion of a hat crown covered with trimming should 
bear a pleasing relation to the space left uncovered, Fig. 16, a 
and b. A little contrast is often desirable to avoid monotony, 
Fig. 16, c. 

In general, the lines in the trimming should conform to the 
structural lines of the hat, Fig. 16, d. 

Lines in trimming entirely out of harmony with the lines of 
the hat are shown in Fig. 16, e. 

Many points of equal or nearly equal interest are not de- 
sirable except in wreath form, when points of interest are equally 
spaced, Fig. 16, /. 

Similarity of line accentuates both good and bad lines, 
Fig. 16, g, h, and i, so that we should avoid repeating in the lines 
of the hat any but the good lines of the face. As a person ad- 



DESIGN APPLIED TO MIEEINERY 



23 



varices in age and the full, round curves of the face are straight- 
ened and hardened, the lines of the hat should become less severe, 




/^v? 








Fig. 16 



taking on a soft, curved tendency, thus tending to neutralize the 
general effect. 

Too much contrast is as bad as too much similarity, Fig. 16, 
/ and k. 



CHAPTER V 

COLOR 

IN dress and home decoration color plays a most important 
part. 1 To persons of good taste strong colors in large 
amounts are as distressing as loud noises that last a long 
time, and an inharmonious combination of strong colors is as 
painful to them as a discordant crash of sounds from a musical 



'fULL IKTEfts/ry 




Fig. 17 

instrument. To develop an understanding of color, a thoro study 
of the theory of various colors, their combinations, and areas, is 
necessary. 

*A large color wheel made and mounted on a neutral background will 
be found of great value in the study of color. 

24 



color 25 

Since there are so many ways of expressing color, it is well 
to give an outline of the color terms and definitions used in the 
following pages. 

Hue, value, and intensity are the three properties of color. 
Hue is the property by which one color is distinguished from an- 
other. Value is the degree of lightness or darkness of a color. 
Intensity is the degree of life and brilliancy in a color. 

Theory of Color 

Each color expresses a distinct temperamental feeling and 
in order to use color intelligently one must sense it. Red, yellow, 
and blue are the primary colors. Orange, green, and violet are 
the binary colors. Red is heat, intensity, violence; yellow, 
light, cheerfulness, gayety, vivacity; blue, coldness, distance, 
reserve; orange expresses intense light, fire, heat; green is re- 
freshing and restful, and expresses life and growth; violet is 
dark, depressing, somber, and dignified. 

Color Harmonics 

Colors to be harmonious must be related. Some colors of 
the spectrum (see color wheel, Fig. 17) are naturally related 
because they lie next to each other in the spectrum circle and 
therefore partake of the same nature and resemble each other 
somewhat in hue. Example : red orange, orange, yellow orange, 
and yellow. When colors are not naturally related they may be 
made so by keying; that is, by mixing a little of each in the other, 
thus drawing them together in hue. Any two colors may be 
made harmonious by keying. For example : orange may be 
keyed to green, producing numerous steps of relationship be- 
tween the two, such as russets and bronze greens, all of which 
may be combined in costumes or interior furnishing with har- 
monious effect. The most unlike colors, those which are called 
complementary colors, may be keyed in like manner and used 
together with satisfactory results, as keying always tends to 
soften or gray any color. This process of keying complementary 
colors is called neutralizing and the resulting tones are called 
neutralized colors. These are more restful to the eye than pure 
colors and are therefore more suitable to clothing and house fur- 
nishing. 

Use of Color 

Just as line must be kept subordinate to the structure of the 
figure, so color must be kept in harmony with the personality 



26 ART IN DRESS 

and color characteristics of the individual. Since red is 
heat and intensity, on a delicate, flower-like blonde, it would en- 
tirely destroy her personality. A Carmen dressed in cool, deli- 
cate green would scarcely express the character and vitality of 
Carmen. Green is cool, refreshing, and restful. Bright blue is 
cold, unfeeling, and therefore, unless very dark, not suitable for 
winter use. The most beautiful blues are the ones that have been 
considerably neutralized. Orange, being a combination of heat 
and light, is one of the most trying colors in large areas, but very 
effective if used in small spots. Yellow, being light, vivacious, 
and cheerful, is better suited to evening than daytime wear. Vio- 
let, being the complement of yellow, and possessing the opposite 
characteristics, is dark and dignified. All light colors, like light 
materials', are more cheerful and refreshing than dark ones, and 
therefore are more appropriate for festive occasions. 

Neutral colors in strong, durable materials should always 
be used for street and business costumes. The perfect costume 
is one which is perfectly appropriate to its use and which forms 
the best background for the complexion, hair, and eyes of the 
wearer. No full intense color is ever suitable to wear except in 
very small spots as in trimming. There, as in other decorative 
usages, small spots of intense color, like loud musical sounds of 
short duration, give vitality, vigor, and interest. In finding the 
most becoming color, decide which is the best feature and the 
most desirable to emphasize — hair, eyes, or complexion. Certain 
color values will be found more pleasing than others. The best 
ones may be found only by experimenting. Bright yellow, cerise 
red, and violet are colors that demand a clear, healthy complex- 
ion. People with sallow or poor complexions will find dark, neu- 
tral colors most becoming. 

Coeor Schemes 

One mode color scheme. A one mode color scheme is one 
made up of different values and intensities of one color, as brown 
and orange. This is a good scheme for street use, but is likely 
to be lacking in individuality. 

Complementary scheme. A complementary scheme is one 
devised of colors directly opposite on the color wheel, which, if 
mixed together, form neutrality. This is a perfectly balanced 
scheme, because one color possesses what the other lacks. It is 
a trade scheme, one often found in rugs, draperies, and other 
furnishings. A good illustration of a harmonious, balanced 



COI<OR & i 

scheme is a half neutral blue body color with trimmings in which 
there are small spots of brilliant orange. The complementary 
colors are red and green, yellow and violet, blue and orange. 

Analogous scheme. An analogous, or, in other words, re- 
lated scheme, is one made up of colors existing together on the 
same side of the spectrum between two primaries, and may in- 
clude one, but never both, of these primaries, as blue and blue 
green; green and yellow green; red and red orange; orange 
and yellow orange; etc. In dress this is a delicate scheme to 
handle, as large masses of these colors combined is a costume 
would not be good. The best use for it is in a surface pattern. 
A waist in an allover design of yellow green, green, and blue 
green, with blue green predominating, to be worn with a skirt 
of the same blue green, darker and more neutral, is a good illus- 
tration of the application of the scheme. Never cross a primary 
to combine such colors as red orange and red violet, or as blue 
violet and blue green. There is one exception, in the combining 
of yellow orange and yellow green, because the tonality of yel- 
low dominates and unifies the scheme. 

Color is largely affected by texture, as different textures re- 
flect light differently, thus affecting the brilliancy of the color; 
for instance, the same color will appear much more brilliant in 
satin than in soft wool or velvet. 

Areas 

The area of a color governs the intensity. Very intense 
colors should never be used except in small spaces. 



b c 



□ 



Fig. 18 



If areas are similar in size, the value and intensity may be 
similar, Fig. 18, a. 

If one color area greatly exceeds the other, there may be a 
wide difference in values, Fig. 18, b. 

If colors are widely different in intensity, one should greatly 
exceed the other in area, Fig. 19, a. 

Work out several costume designs in color, including hat 
designs, using one mode, analogous, and complementary color 
schemes. 



ART IN DRESS 



Outline for Use in Designing a Dress 

Selection of De- |J osuit 
■ 2 i figure in 

sign 2 I s .. 

I question 

Figure 
Use 



2. Selection of Ma- 
terial 



r Stout 
l Slender 



3. Selection of Colon 



f Complexion 



Use 



\2. Arrangement 



1. Arrangement of 
Space Divisions 



[ According to law of 
< well related spaces 
{ or Greek rule 



I According to theory 
Arrangement of J f color, law of back- 
Color 1 grounds, 3 and law of 



areas 



Tor a tiling to he well decorated, decoration should follow and 
strengthen *1 nietmc. Remember always, however, that the repeating of any 
line strengthens it for better or worse, so we must avoid or modify bail 
lines and strengthen good ones. 

"Law of backgrounds. Backgrounds, such as dresses, side walls, picture 
mats, etc., should, with few exception, be less intense in color than the 
objects shown upon them. 



£§6 




CHAPTER VI 

PRINCIPLES OF DESIGN APPLIED TO EMBROIDERY 

PUPILS of a Domestic Art Department probably have no 
more difficult task than that of selecting suitable designs 

and colors for their embroidery problems. It is impossible 
for them to create their own designs on account of the lack of 
time and training, but their judgment may be developed so that 
they will select good designs and apply them consistently. 

A little study of embroidery designs should arouse an en- 
thusiastic and intelligent interest in this subject. It may be pos- 
sible to obtain a few colored plates of Chinese, Japanese, Italian, 
or French embroideries. These will show the best of various 
types of embroidery. The Chinese and Japanese are famous for 
their gorgeous embroidered kimonos, screens, and wall tapestries. 
These are a clear and beautiful record of their ideals of harmony. 
Nowhere will one find more brilliant colors skilfully used in 
one design. The most wonderful Italian embroideries are those 
found in the church robes and altar cloths which are done in 
complex designs of jewel-like color. "Embroideries French," by 
Marie Tenichev, is an excellent illustration of modern French 
embroidery. The International Studio, Arts and Decoration, 
and The Craftsman often have beautiful colored plates of em- 
broideries. 

It is not necessary to go into detail in this study. However, 
it is well to see the highest types of the art in order to develop 
higher ideals of beauty and create a desire for beauty and har- 
mony in ordinary surroundings. After developing these ideals, 
pupils will quickly see what cheap and tawdry ornamentations 
fill our department stores and, unfortunately, some of our homes. 
The home should be refined and harmonious to give mental and 
physical rest. Domestic embroideries, in our country, have 
scarcely reached that plane of harmony and good design where 
they may be called "applied art." There is no art in the two 
types of design we find dominant. In one, we find the purely 
naturalistic, of enormous roses, pansies, or even worse, lilies of 
the valley, adorning the top of a coarse crash pillow. In the 
second, we find an attempt at abstract design which seems prin- 
cipally based on the triangle or cube, somewhat resembling the 

29 



30 ART IN DR£SS 

cubist art, done in garish colors. Very rarely do we find a good 
design well applied. The reason for this is that the fundamental 
principles of good design are not understood by the general pub- 
lic and there has not been sufficient demand for what is truly 
beautiful and harmonious. Volumes have been written, by the 
most brilliant geniuses of the world, on what constitutes beauty. 
From the study of design we learn that beauty is perfect har- 
mony. Consistency is the first element of good taste. There- 
fore the character of the decoration to be placed on an object 
will be determined by its intended use, the material of which the 
object is made, and its general shape. If our object is thus con- 
sidered, the result of our work will be decoration, not ornamen- 
tation. In other words, decoration exists for the sake of the 
thing decorated and should be in perfect harmony with it. Fur- 
thermore, the component parts of the decoration must harmonize 
with each other. When these laws are violated all will degen- 
erate into mere ornamentation, which exists to exploit itself with- 
out reference to the object on which it is placed. 

Relation between Decoration and Object Decorated 

In selecting and applying decoration to sofa pillows, table 
runners, bags, dresser scarfs, collars and cuffs, and all other arti- 
cles of fancy work, the principles of good design should be fol- 
lowed. Continual reference should be made to the chapter on 
well related spaces and the chapter on color, during the study of 
the following principles. We often find in embroidery books 
and magazines excellent motifs badly arranged, which may, with 
the aid of the following suggestions, be rearranged into good 
designs. 

Selection 

Careful consideration should be given to selecting a design 
which shall be suitable to the texture to which it is to be applied. 

(a) In semi-conventional designs the motif should be de- 
rived from a flower which, in its characteristics, suggests the 
material on which it is to be embroidered. Tree motifs, water 
lilies, nasturtiums, and other rather large flowers furnish excel- 
lent suggestions for designs to be used on handwoven crash. 
Lilies of the valley, ferns, and many delicate flowers and plants 
may be conventionalized and used very effectively in designs for 
the embroidery of fine white linen. 



DESIGN APPLIED TO EMBROIDERY 



31 



(b) Long, straight lines and points are seldom good in 
embroidery because of the flexibility of the materials used. 

(c) Violent curves in the general arrangement of a design 
are equally bad when they are in opposition to the weave of the 
cloth and the enclosing form. 

(d) The lines of a design should be modified to suit the 
texture of the cloth. 







Fig. 19 



Arrangement oe Designs for Soea Pieeows 

Principle I. Decoration should strengthen structure and add 
beauty. 

Principle II. The contour of the enclosing form determines 
the line movement within. 

According to Principle II, decoration should never be placed 
in the center of any object if the center is to be used, as has been 
done in Fig. 19, a. 



32 



ART IN DRESS 



In Fig. 19, b, the same flower motif has been used as in Fig. 
19, a, but conventionalized and arranged to follow the enclosing 
form and is therefore much better. 

In Fig. 19, c, the decoration bears no relationship in size to 
the background. There should be a consistent relationship be- 
tween the background spaces and the decoration as illustrated in 
Fig. 19, b, d; Fig. 20, b, d; and Fig. 21, b. 



W 7 *&4i 





m— D M$\ 




Fig. 20 



Dividing a corner in half with a diagonal line, as in Fig. 
20, a, weakens the structure and breaks the space into acute an- 
gles and lines opposed to the enclosing form, violating Principle 
II. 

In Fig. 20, b, the same design has been modified and ar- 
ranged to suit the space and strengthen structure. 

Such a design as Fig. 20 c, composed of two squares so ar- 
ranged that the points of one square oppose the straight lines of 
the other, forming triangular spaces which have no relationship 
in form to the object decorated, is always bad according to Prin- 
ciple II. 

If, as in Fig. 20, d, the square is used as a motif, it should 
be so arranged as to conform to the boundary lines. 



DESIGN APPUED TO EMBROIDERY 



13 



Circles inclosing or inclosed by squares or triangles, see Fig. 
21, a, are always bad because of opposing lines and unrelated 
shapes. As a curved line approaches a straight structural line it 
should adjust itself to that line, as in Fig. 20, a and b. 




Fig. 21 

An arrangement like that in Fig. 21, b, is always good, be- 
cause it breaks the space into well related parts and the lines are 
consistent. Different motifs may be consistently arranged within 
these border lines. 



NC ^ 

Spa 




Fig. 22 



The difficult problem of working out the corner for a design 
constructed on the oblong will be much simplified by employing 
the device shown in Fig. 22 : Draw a line at any point, as A-B, 
through the motif, such as to form a 45° angle with the side line 
A-D. Trace all of the design on one side of the diagonal line A-B, 
after which, using A-B as an axis, turn D-A-B over and retrace. 
The result will be a good corner design, as M-O-N. If desired, 
the part of the design A-C-B may be used with equally good 
results. 



34 art in dress 

The Use oe Coeor in Embroidery 

It is well to follow some definite color scheme for use in 
colored embroidery, as it takes very skilful handling to arrange 
a beautiful scheme in brilliant colors. Almost all embroidery 
silks come in very intense colors. One dark neutral color, se- 
lected in accordance with the background, should predominate 
with two or three more intense colors of different values. Colors 
should vary in area according to their value and intensity. (See 
chapter on color.) A background should always be of neutral 
color. In order to hold the design to the background, the back- 
ground color, may be repeated in the design in a different value 
and in greater intensity. For instance, in a one mode scheme 
of green with a light neutral green background, the large masses 
of the design may be done in a darker green with the center of 
interest a very intense light green. In a complementary scheme 
of blue and orange, the background may be tan (neutral orange) 
with the larger masses of the design in a neutral blue and the 
center of interest bright orange. Brilliant color should always 
be used in small spots, marking the center of interest. In a re- 
lated scheme, it is wise to select for a background a color which 
has less warmth inasmuch as cool color has a tendency to recede. 
Backgrounds should never force themselves beyond the design. 
Warm colors predominate for the center of interest because the 
center of interest should be the most attractive part. The center 
of interest may be further emphasized by a contrast of brilliant 
or darker color. If a warm color is used for a background, it 
must be very neutral. Thru the juxtaposition of very brilliant 
unrelated colors in small spots it is possible to produce a neutral 
tone. This arrangement of color is very beautiful in very com- 
plex surface patterns. It is often seen in oriental rugs and old 
embroideries. 



DESIGN APriJED TO EMBROIDERY 



35 




CURVED EINE DESIGNS SUITABEE EOR WHITE EMBROIDERY 



36 



ART IN DRESS 



mupB mfu pp 



A- A A fl £ 



ji 



bc=idlbc=dlbc = idbc=)dB 



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METHODS OF REPEATING AND ARRANGING MOTIFS FOR 
TABEE RUNNERS 



DESIGN APPLIED TO EMBROIDERY 



37 



Outeixe eor Use in Working Out Embroidery Designs 



i. Selection 



fi. Selection of Ma- | Use 
terial [Fitness 

[ In accord with 

2. Selection of Color -j surroundings and 

[law of background 

3. Selection of Space to be Decorated 
(Greek rule) 



4. Selection of 
Motif 



[ Geometrical 
I Floral 



2. Arrangement 



In accord with laws 

. of space arrange- 

1. Space Divisions <! men t 

(See Chapter I) 

Theory of color 

2. Arrangement of J ^ aw ° f b ack g r ™ nds 
Color ^ Law of areas 

(See Chapter V) 



CHAPTER VII 

HOME DECORATION 

THE activities in which the principles of art may be employed 
are unending, but one in which all women are interested is 
the furnishing of a home. We shall not entitle this discus- 
sion "Interior Decoration," for that would necessitate a very 
complex and extensive study, but we shall give a few elementary 
principles concerning color and arrangement which are very es- 
sential in creating a pleasing home. Unity, symmetry, and re- 
pose of line and color are the first things to be attained. 

Line; Arrangement 

At one period of decorative development, draped curtains, 
much-carved furniture, and ornate rugs with realistic designs 
and whirling curved lines were in vogue. These gave a jumbled, 
confused effect to a room. The curved lines and naturalistic 
flowers and animals in rugs and carpets seemed to deprive the 
floor of its rightful mission of remaining flat. One could not 
walk about without the feeling of crushing flowers or doing vio- 
lence to our friends of the animal kingdom. Rugs and furniture 
were placed across corners and in opposition to the lines of the 
room, as illustrated in Fig. 23, a. The structural lines of a room 
are vertical and horizontal ; consequently, many strong lines in 
opposition, such as those of draped curtains, Fig. 23, c, rugs, and 
large pieces of furniture placed on the bias, produce a feelingof 
distraction and unrest. The balanced straight line arrangement 
in Fig. 23, b, d, and f, is symmetrical and restful. Fig. 23, e, is 
bad in balance. 

The highly ornamented and bizarre may interest for a min- 
ute, but only those things which are beautiful in proportion and 
simple in line stand the test of time and long satisfy the aesthetic 
taste. Rugs, draperies, and furniture — the things we must live 
with and see daily — should be useful, suitable in line and color, 
and should be placed in spaces in which they fit. 

Coeor 

It is a recognized fact in science that color has a distinct 
effect on the nervous system. For this reason, careful thought 
is being given in some sanitariums to the color of the walls of 

38 



HOME DECORATION 



39 




DD 
DD 
DD 
DD 

ton 



DD 
DD 
DD 
DD 
DD 



II 

111 




<- 

< 

1 










f 



Fig. 23 



^4, c and e are examples of bad line arrangement ; b, d and / 
are good. 



40 ART IN DRESS 

certain rooms. A fever patient would be sure to find light blue 
or green more refreshing than dark brown or red. Knowing 
that color has a temperamental effect on us we should be careful 
to use it intelligently. 

The amount of light in a room must first be considered in 
determining the color to be used. All colors used in large masses 
must be quite neutral. A light, south exposure living room may 
be done in a dark neutral cool color. In dark, gloomy rooms a 
light, luminous color should be used, such as yellow, yellow 
orange (tan), or colors in which yellow predominates. Yellow 
reflects light and means cheerfulness. Blue, blue green, and gray 
are colors of distance and recede, giving a room a larger appear- 
ance. The dark browns and reds tend to make a room look 
smaller, because they are dark and aggressive. 

The use of a room is another determining factor in the 
choice of color. Dark neutral colors produce a quiet, studious 
atmosphere in a library. The warm tans and neutral reds are 
good in reception halls and dining rooms where a spirit of wel- 
come prevails. The same general rules of use and light apply 
to bedrooms, except that the main intent should be to get a 
clean, restful color. 

Ceiung, Side Waix, and Floor Coverings 

A ceiling should never attract attention, but should reflect 
light into a room and, therefore, must be light and luminous. 
Only very small figures in the same hue, if any, are permissible. 
In case the ceiling is very high and there is a need of lowering its 
effect, a darker color, or a drop ceiling will tend to accomplish it. 

Side walls should, first of all, be a good background, neutral 
always, and about middle value, varying, however, in value and 
intensity according to the light and use of the room. All natural- 
istic motifs, prominent stripes, designs with a pronounced diag- 
onal, or with spots, should always be avoided. Wallpapers of a 
one mode color scheme, and also of complex design — even if the 
designs are of different colors, or if they are near in value to the 
background — form beautiful coverings for the wall. The most 
important consideration for a side wall is to keep it flat and rest- 
ful, avoiding a confused effect in line and color. Borders and 
paneling must be handled very skilfully. 

The floor covering must, of course, repeat the coloring in 
the side walls in predominance. It should be darker in value 



HOME DECORATION 41 

than a side wall. Avoid large geometric figures or naturalistic 
designs. 

Draperies and Decorations 

Draperies must repeat the color used in the side walls, but 
may be slightly more intense. Curtains should be toned ecru or 
cream if used in a room where warm color predominates. White 
curtains are better in bedrooms with cool walls. All draperies 
should conform in line to the structural lines of the windows and 
doors, as a curved line opposed to a straight line attracts the at- 
tention unpleasantly, Fig. 23, c. 

A few good pictures should be hung in spaces to which they 
conform in line and shape. Frames and picture mats should be 
toned to harmonize with the coloring of the picture and should 
be secondary to it. The general effect of a room must be con- 
sidered in selecting picture frames, for one large, ornamental 
frame may destroy the harmony of the room. 

All useless bric-a-brac should be done away with as it catches 
dust and adds nothing to the beauty of a room. The only place 
in a house for curios and souvenirs is in a den or some very 
intimate room, not in the living room or reception hall. 

Decorations placed in a room may attract the attention, pro- 
vided they are not out of the normal circle of vision, thus causing 
the eye to fly toward the ceiling or the floor. Bright notes of 
color are legitimate in sofa pillows, pictures, and in such articles 
as belong near the eye level, but are out of place in rugs, carpets, 
ceilings, or walls. They should remain in the background. A 
few pieces of useful, beautiful pottery may be adapted to add 
the necessary note of color. 

Ceass Exercise 

By the expenditure of a little thought and time the ingenious 
instructor may devise many ways by which the problem of house 
furnishing may be carried out in the schoolroom in a manner to 
be both practical and concise in its application. For instance, a 
collection of furniture and rug catalogs, as well as many samples 
of wallpaper and hangings, should be made. From one to three 
large sheets of cardboard may be arranged to represent the side 
walls of a room to be decorated ; all openings, such as windows, 
doors, etc., being cut out.. 

First, a class discussion should be carried on, in which such 
general questions as use of room, situation in regard to light, and 



42 ART IN" DRESS 

expense, should be decided upon. Then, by dividing the class 
into groups, one for papering, another for selecting hangings, 
and still a third for the actual furnishing, the usual objection to 
large and unwieldy classes may be avoided. When each group 
has made its selection, including first and second choice, class 
criticism should be resorted to for the final decisions, then all 
will have the benefit of each step. The problem may be com- 
pleted by each group actually placing the final selections on or 
against the cardboard frame. The wallpaper may be pasted on, 
or held in place by cardboard or light wood frames made to fit 
in the openings. When all is finished, a third and final class 
criticism may be resorted to, when general effect and arrange- 
ment should be discussed. 

To make the problem more nearly complete the wallpapers 
should be worked out in water color, as of course the design on 
the papers from among the wallpaper samples will be found far 
too large for our miniature room. 



A GRADED COURSE IN SEWING-HANDICRAFT FOR 

GIRLS — By Idabelle McGlauflin Supervisor of Girls' Handwork in 
the Public Schools of Denver, Colorado 





A COURSE OF INSTRUCTION AND MANUAL FOR TEACHERS 



A PRACTICAL BOOK ON SEWING FOR GRADES THREE TO EIGHT, 

INCLUSIVE 

A Tentative Course in Needlework, Basketry, Designing, Paper and Card- 
board Construction, Textile Fibers and Fabrics, and 
Home Decoration and Care. 

^pHE course is definite enough to be thoroly practical and elastic enough to 
suit the varied conditions found in schools ranging from a rural or village 
school to that in a large city. Altho the course is given in detail for the benefit 
of the inexperienced teacher, a great number of electives are introduced and 
the exercise of the individual taste of both teacher and pupil is encouraged and 
made possible. The book is the result of twelve years ' experience in planning 
and supervising the work of teachers whose training has not included handwork. 

The book stands for good technique and is practical from cover to cover. 

■ — The School Arts Boole. 

This volume supplies a need which has been deeply felt by teachers and 
schools of domestic science. The book contains 122 pages, many half-tone illus- 
trations of processes and completed work. — Education. 

Price, postpaid, $1.00 

Published by THE MANUAL ARTS PRESS, Peoria, 111- 

43 



INEXPENSIVE BASKETRY— By William S. Marten 

Ji^ teachers' manual presenting in detail the processes of coiled basket con- 
struction. The book gives a complete treatment of the necessary equipment, 
and the preparation of raw materials, and outlines a course for grades three 
to six. In addition it contains a bibliography of books and magazine articles 
treating of basketry. It is unique among books on basketry, as it shows by a 
series of excellent photographs every step in the construction of coiled baskets. 
The illustrations "really illustrate" and show the hand full-size in the different 
positions assumed in making a complete basket. 

Price, postpaid, 25 cents. 

LEATHER WORK — By Adelaide Mickel, Department of Manual Arts, 
Bradley Polytechnic Institute, Peoria, Illinois. 

THE most complete and suggestive book published on leather-work for the 
art craft teacher and the craft worker in leather. The book is intended to be 
of practical assistance to teachers and students in acquiring the technic of 
the various kinds of leather-work. It describes the tools, processes and ma- 
terials used in working leather and gives detailed descriptions of the various 
processes of working, treating of flat modeling, embossing, repousse, carved 
leather and cut work. 

The book is well illustrated with half-tones and line drawings, show- 
ing photographs of many finished articles and full-page working drawings of 
twenty useful and beautiful articles suitable for school and home work. 

THE BEST MANUAL ON ART LEATHER- WOEK AVAILABLE 

Price, postpaid, 75 cents. 

CLAY WORK — By Katherine Morris Lester 

A HANDBOOK FOE TEACHEES IN THE ELEMENTARY SCHOOLS 

THIS book was written by a grade teacher and art worker to help teachers 
in acquiring the technic of clay working, and to give them suggestions 
concerning the teaching of the several types of clay work suited to pupils in 
the elementary schools. It covers the study of natural forms, human figure in 
relief, and the round, animal forms, story illustration, architectural ornament, 
titles, hand-built pottery, and pottery decoration. The book is richly illustrated 
with more than fifty half-tone and line cuts showing processes, designs and the 
work of children from ten to twelve years of age. Printed in duotone ink on 
coated paper and appropriately bound in boards. 

Price, postpaid, $1.00 

CLASSROOM PRACTICE IN DESIGN — By James Parton 
Haney, Director of Drawing, High Schools, Greater New York. 

^ CONCISE, richly illustrated brochure on the teaching of applied design. 
An exposition of the principles that should underlie instruction in design 
in the public schools. 

JUST WHAT EVEEY TEACHER OF HANDWORK NEEDS 

Price, postpaid, 50 cents. 

Published by THE MANUAL ARTS PRESS, Peoria, 111. 

44 



PAPER AND CARDBOARD CONSTRUCTION— By g. F. 

Buxton and F. L Curran, Stout Institute, Menominee, Wisconsin. 

A MANUAL FOE TEACHERS OF PRIMARY HANDWORK 

j^MONG books for the primary grades this book is notable because of the 
fund of information, the excellent selection and classification of material, 
and the completeness of treatment. Unlike other similar books the directions 
for each problem are unusually clear, detailed, and complete. 

It presents courses in cutting, measuring, folding, pasting, gluing, sew- 
ing, punching, tying, and decorating a variety of paper materials, with a def- 
initely organized series of problems in the making of boxes, card mounts, and 
envelopes. The book not only gives a variety of problems in each of the four 
types, but also gives an analysis of the scope of paper and cardboard construc- 
tion for the primary grades of public schools and a large amount of informa- 
tion on courses, equipments, supplies and methods of handling the work. In 
the appendix are mounted and described 24 samples of paper suitable for all 
forms of primary construction work. 

The book is well illustrated with line drawings and half tones of finished 
work, and contains a bibliography of the entire subject. 

WELL ORGANIZED— THORO— COMPLETE— PRACTICAL 

191 pages, clothbound; price, $1.50 postpaid. 



ART METALWORK, With Inexpensive Equipment— 

By Arthur F. Payne, Assistant Professor of Manual Arts, Bradley Polytech- 
nic Institute, Peoria, 111. 

'J* HIS book was written by a practical art metalworker, expert craftsman and 
experienced teacher; one who understands the needs of the manual training 
teacher. It contains detailed information for the teacher introducing art metal- 
work into his courses. 

Part I deals mainly with materials and equipment describing the produc- 
tion of copper, the ores, the methods of extracting, the commercial forms, and 
copper alloys. It also tells how to color and finish art metalwork, and the 
sources of materials and equipment. Two chapters treat of the influence of 
the Arts and Crafts Movement upon Manual Training and the Correlation of 
Metalwork and Design. Part II deals with problems, describing in detail all 
the processes to be followed in making articles varying from a watch fob to a 
silver loving cup, including etching, piercing, annealing, planishing, modeling, 
chasing, enameling, spoon making, etc., etc. It tells about new methods of con- 
struction, new finishes and new problems. It also gives methods and valuable 
information that have hitherto been guarded as trade secrets. Beautiful illus- 
trations show work done by students under ordinary school conditions in a 
manual training shop. It shows tools, processes, and the most practical inex- 
pensive equipment of the practical craftsman. 

Author and publisher have united to make this the standard book on the 
subject. It contains twenty chapters, 187 pages and 159 illustrations, and is 
well printed and attractively bound. 

Price, postpaid, $1.50. 

Published by THE MANUAL ARTS PRESS, Peoria, 111. 

45 



THE WASH METHOD OF HANDLING WATER- 
COLOUR — By Frank Forrest Frederick, Director of School of Indus- 
trial Art, Trenton, N. J. 

DESCRIBES A PROCESS WHICH DRAWING TEACHERS ARE COMING 

TO RECOGNIZE SHOULD BE MORE GENERALLY AND 

MORE THOROLY TAUGHT 

^\ WORK such as this, that directs attention to the use of water colors as 
■ handled by such artists as Claude and Turner is most timely. * * * * 
The present-day method of handling water-color places the laying of flat washes 
in a fair way to become a lost art. This little book is a helpful guide and af- 
fords a stimulus to the use of water-color as practiced by the earlier painters, 
whose beautiful work is unexcelled. — The Inland Printer. 

A very dainty booklet, charmingly produced, and reflecting great credit 
upon author and publisher. There can be no doubt that Mr. Frederick 's method 
is sound. It fosters accurate and intelligent observation, precise workman- 
ship, and a careful handling of the material, and is entirely opposed to the 
slap-dash method which is so often suggested. 

— The Practical Teachers' Art Monthly, England. 
Price, postpaid, 50 cents. 



BOOKS ON THE MANUAL ARTS. 

^ bibliography, describing over 400 books including the best books on wood- 
working, metalwork, freehand, mechanical and architectural drawing, art 
crafts, home making, food and food preparation, textile arts, furniture con- 
struction and design, printing, elementary handwork, manual, vocational, and 
industrial education. It is completely indexed by author, title and subject. 
It is a valuable aid in selecting textbooks, teachers' handbooks and reference 
books for personal and school libraries. Mailed free on request. 



MANUAL TRAINING and VOCATIONAL EDUCATION. 

^ magazine of ' ' quality. ' ' The professional journal of the teachers of man- 
ual, vocational and industrial education. It publishes practical articles on 
the ways and means of "doing things." It discusses vital problems in teaching 
the manual arts and presents the best current thought on the development of 
manual training and vocational education. To the inexperienced teacher, it is 
valuable in solving numerous problems, and to the experienced teacher, it is a 
means of keeping abreast of the times. It is ably edited, attractively printed, 
and well illustrated with photographs and drawings made especially for its 
pages. Published monthly except July and August. $2.00 a year; Canada, 
$2.25; Foreign, $2.50. 

Published by THE MANUAL ARTS PRESS, Peoria, 111. 



46 



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